Never use the word's WRONG or BAD when talking to a student. These two words have no value because they say nothing. Wrong and Bad are just two degrees or measures of right. The work prescribed by your lessons will be the correction. The player must learn WHAT TO DO!! (It
is undoubtly a problem when many people need the words wrong and bad to relate.)

If a student can't performe a particular demand it is because the student hasn't yet explored that area thoroughly enough yet. Since the student hasn't yet thoroughly explored that area, how can the student make correct and valid comparisons.

The better the players proficiency that come to you the more refined will be the necessary correction.

Also, you will never hear me use the word EMBOUCHURE because it also (as do the words wrong and bad) say nothing. EX. If you tell your mother the word EMBOUCHURE it has no meaning. Use words that "explain and relate" a clear and understandable meaning.

A good lesson depends on what you take out, not what you bring in! A lesson is not a concert, nor is it a place for one to receive a verbal whipping. The personal relationship developed between the teacher and student or therapist and client is an important psychological variable.

All learning is done most efficiently through relating.

Understanding a certain principle alone does not teach you to perform a physical task. It is the constant repitition of the physical action that brings the coordination.
Ex. You can understand the methods and principles of swimming and yet not be able to swim.

Trumpet playing has gone a long way, but teaching unfortunetly hasn't. There is a need to extend your knowledge with more education.

If you give your student "Positives", "Knowns", Physical "Laws" your student will not mind doing anything that they are told. All of the students doubt and undercertainties are resolved. The student is embarking on a sure method.

Habits are removed by giving the individual things (new behaviors) that create a new habit which will gradually be used instead.

A teacher should instill in their students a Know how so that the student can duplicate whatever the teacher wishes.

Don't think about these exercises, just do them! We often destroy ourselves by thinking irrationally when frustrated with a situation.

Muscles learn through a relating process and constant repitition on a given demand.

When timing these exercises, always use subdivision to really set the muscular movements to precise change demands. A strong up-beat will help. Timing also will eventually lead to the acquisition of greater flexibility and fluidity. It helps to syncronize the muscular movements to respond to specific time demands.

Besides doing the various exercises given to you at a lesson it is also necessary to continue to play other things as well. If you do not expose your chops to muscular demands, these exercises will never find their way into your regular musical playing. Also, if you don't play other things you will never really know when you are tired. You have explored the other form of playing for a much longer period of time and can make a valid decision as to whether you are really tired.

Always finish an interval group. If you stop in the middle the muscles will not learn what you want them to do because you have stopped the exchange between notes.

The playing of a low f# aids in bringing the lips together and remooves stiffness. It also helps in setting up for a new taste.

Exercises condition the body to play. The instrument is just an extension of the person and their control. (muscular/motor/activity.)

Obviously, the very make-up of these exercises teach you breath control. Numerous demands that the breathing is subject to.

Timing: This is the medium by which we get the muscles to move and work in a coordinate and synchronized manner.

Feel: Feel is the result of doing these exercises. (Sensitivity) Don't worry about pitch, feel, or sound.

This method tries to establish a sensitivity, feel, or taste so that the lips are ready to accept the blow.